PROJECT REPORT: TRANSPORT FACILITIES & PUBLIC REALM


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lightness by concealing the structural dolphin elements behind compact service zones enclosed in a light grey metallic cladding. There are four slender internal steel columns, “more required to hold the roof down than hold it up because of wind and tidal loads,” and wrapped in polished stainless steel.


The roofline is sloped to take in direct views towards the towers at Canary Wharf, the O2, and beyond them the City of London. The glazing that runs along the 12 metre front elevation rises to around 4.6 metres at one end, and has two openings allowing users to access a viewing platform. The mild steel roof is folded upwards like a butterfly for practical as well as aesthetic reasons – aiding drainage, but also helping to bring light into the space. As well as providing an interesting form, light bounces off the water, causing reflections onto the ceiling (which is powder-coated in a similar copper colour to the aluminium battens)


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and is reflected down into the space. Dempsey says that one of his key inspirations throughout the design was Turner, and the way the painter “incessantly captured the changing light on the river.”


Materials


The materials palette refers to both pier heritage and shipbuilding, and “speaks to both the practical needs and maritime setting.” The zig-zagging steel structure is painted a dark, slightly bluish grey to offer a contemporary look that will weather well. The steel wall panels of the waiting area are a pale metallic grey – to “kind of disappear, reflect the light and horizon, and leave the roof to appear to float,” says the architect. Ekki hardwood timber, well known for its high performance in marine settings, features prominently, forming the stepped seating in the waiting area, and warming the space. The timber is also used for handrails along the length of the pier, plus the


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